Brand new

Making the rounds are images of corporate logos (grouped on the right) where their elements have been awkwardly separated to show "social distancing". Unfortunately none of them are that clever or as poignant as the unofficial Olympics logo graphic that did it first, since the
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Making the rounds are images of corporate logos (grouped on the right) where their elements have been awkwardly separated to show "social distancing". Unfortunately none of them are that clever or as poignant as the unofficial Olympics logo graphic that did it first, since the rings icon is about people from five continents coming together not selling hamburgers, soda, or cars, making the notion of social distance actually relevant.
http://feedproxy.google.com/~r/ucllc/brandnew/~3/-L5y_jEC5QE/social_distance_logos.php
https://www.underconsideration.com/brandnew/archives/social_distance_logos.php
Mon, 30 Mar 2020 06:41:07 -0600
https://www.underconsideration.com/brandnew/archives/social_distance_logos.php

The New York Times talks with CDC medical illustrators Alissa Eckert and Dan Higgins about the development of the coronavirus' most recognizable image: "Ms. Eckert and her colleague Dan Higgins were asked to create 'an identity' for the virus. 'Something to grab the public's attention,'
Visit LinkThe New York Times talks with CDC medical illustrators Alissa Eckert and Dan Higgins about the development of the coronavirus' most recognizable image: "Ms. Eckert and her colleague Dan Higgins were asked to create 'an identity' for the virus. 'Something to grab the public's attention,' she said."
http://feedproxy.google.com/~r/ucllc/brandnew/~3/7wCVWWjmkA4/but_will_it_fax.php
https://www.underconsideration.com/brandnew/archives/but_will_it_fax.php
Wed, 01 Apr 2020 06:41:07 -0600
https://www.underconsideration.com/brandnew/archives/but_will_it_fax.php

(Est. 2004) "Morshynska is unique natural table water originating in a preserved region of Prykarpatye from the Carpathian source called Morshynska. The city of Morshyn (Lviv oblast, Ukraine) is situated on a hillside in the eastern part of the Carpathian mountain range, 340m above sea
“Drink a Sigh of Relief”

(Est. 2004) "Morshynska is unique natural table water originating in a preserved region of Prykarpatye from the Carpathian source called Morshynska. The city of Morshyn (Lviv oblast, Ukraine) is situated on a hillside in the eastern part of the Carpathian mountain range, 340m above sea level. Virgin Carpathian forests surround the city, ensuring the areas ancient ecological purity. The Madonna source, from which Morshynska rises, was discovered in 1879 and has long been the subject of legend. A decree by the Cabinet of Ministers of Ukraine classified the Morshyn deposit as Unique. Being a leader among bottled waters in Ukraine, Morshynska is successfully exported to the Balkans, CIS countries, Poland and Germany. Nowadays for millions of people Morshynska has become an example of the natural product, for it is one of a few true natural waters, available to the customers."

Relevant quoteThe new bottle is much more comfortable and pleasant to hold in your hand and now contains 15% less plastic thanks to the use of innovative technologies in designing and manufacturing the bottle. This is a very important step towards preserving the environment in Ukraine.

In addition to the bottle itself, Morshynska has also updated its look. The logo is now larger and simpler, the embossing of geometric spruces and mountains looks more modern and noticeable, and the size of the bottleneck and the crown-lid was reduced to make the bottle lighter. The label of the new Morshynska bottle has a more minimalistic look, with its shorter height and smaller number of elements depicted. Only elements key to brand recognition remain.

The brand has received an evolutionary redesign. Nearly two years were spent on implementation and testing. Most customers will not even notice the difference, but if you put the two bottles side by side, the difference is evident. The color of the carbonation level (blue, white, and green) remains unchanged in order to preserve continuity with the old design which customers are used to.

Images (opinion after)

Logo in Latin and Cyrillic.
Bottle, before and after.
Bottle.
Rendering.
Lots of sexy renders.
Spot introducing the new bottle.

Opinion
The old logo, in the spurless sans serif style that I heavily dislike by default, was not good and not only because I don’t like the typeface but look at the awfully uneven horizontal line at the top of the x-height — it’s just painful. And it looked like a telco more than a water brand. The new logo is more Evian-esque with a deadpan neo-grotesque that I don’t quite like either but, eh, I don’t dislike it. The Cyrillic version looks nicer than the Latin, mostly because of the initial “М” which has some personality. But we are not here for the logo update as the real hero is the new bottle design that has a literally and metaphorically groovy new design of abstract mountains and trees built into it. The different relief textures are great and even without the option to see or hold one in real life myself I can feel its tactility. The labels are an improvement too, with nicer-looking trees and a bigger logo — nothing amazing but crisp and slick enough for a mainstream product. Overall, a commendable improvement in the design but a really great improvement in the UI and UX of the product itself.

This isn't because of any kind of philosophical stance about pulling pranks in a time like this -- I do think distractions and levity are necessary -- but the whole month of March, which is when I would usually prepare something, was a hot mess
“Couldn’t Do It”

This isn't because of any kind of philosophical stance about pulling pranks in a time like this -- I do think distractions and levity are necessary -- but the whole month of March, which is when I would usually prepare something, was a hot mess of emotions and unexpected adjustments to our life and business that I simply had no time nor was I in the appropriate headspace to come up with something clever this year. So it's business as usual on April 1, 2021*. Stay safe, stay sane.

* Update: LOL, I just realized I typed "2021" instead of "2020"... since we've been postponing all of our events to 2021, I think I am subconsciously skipping 2020 altogether. Will leave the Freudian slip in there as a reminder.

Launched in the Czech Republic in 2006, DIGI is a direct to home satellite television service that is also available in Romania (where it's headquartered) and Hungary. Originally airing mostly sports -- and by sports I mean football and by football I mean the sport
“Only Time Will Telly”

Launched in the Czech Republic in 2006, DIGI is a direct to home satellite television service that is also available in Romania (where it's headquartered) and Hungary. Originally airing mostly sports -- and by sports I mean football and by football I mean the sport that if I call soccer people in the comments get upset with me -- in the Czech Republic, 2010 saw an increase in programming, infrastructure, and offerings (mainly internet connection) when Czech investment group Lama Energy Group joined them. Today, DIGI -- in the Czech Republic only -- is changing its name to Telly and has introduced a new identity designed by Prague, Czech Republic-based Studio Najbrt, who also did the naming.

We came up with the friendly name and sharpened its look a little with a simple diagonal. First, we cut the Y in the logo and then in a visual style we added an easily applicable "wipe", an unmistakable film and video editing technique. The color scheme begins with the blue of the glowing screen and continues with the complementary RGB spectrum in shifted shades. The logo, as well as the additional typeface Neue Haas Grotesk Display, to which its morphology remotely refers, in their modernity and readability easily withstand a wide range of uses and the tooth of time.Studio Najbrt project page
Logo.
Logo on different colors.
Logo on different photos.
Logo in different colors.

The old name (which will still exist for DIGI in Hungary and Romania) was/is fine but perhaps it's a little cold and detached of emotion, sounding more like a business-to-business name than a business-to-consumer one, which the new name corrects with the endearing "telly". If this were a UK brand, I imagine it would be an issue to adopt it as a name given that it's such a commonly used word but I imagine, also, that in the Czech Republic it's more ownable. You would be correct in thinking "Aren't there other Telly brands around the world?" because there are, but it was available in the Czech Republic in the category, so Telly it is, and I like it.

The old logo (which will also still exist for DIGI in Hungary and Romania) was/is more or less fine. The wide letterforms helped make the short name have more presence and the "G" was sort of interesting but perhaps the whole thing needed/needs a new interpretation in capable hands. The new logo starts out with business as usual in a bold, unassuming sans serif but then adds a lovely twist with a clever take on the "y" building off of the "l", yielding a distinctive, compact wordmark and establishing the angle as a recurring, recognizable motif in the identity. The tight letter-spacing is great, with the "e" nestling under the "T" and allowing for that "y" to be more easily read. I really like the multi-color version above and kind of wish that were the main usage, but I get that it becomes a little harder to read.

Big fan of the institutional materials with the tight grids and no-nonsense layouts. Feels very Unimark-ish.

Sample layouts.
Out of home advertising.

The consumer applications are very straightforward with a big logo in the top left corner plus a programming still plus a headline plus a footer strip in the brand's colors and signature angle. It's not groundbreaking and it's not that interesting, to be honest, but it's effective. Perhaps as the brand evolves, their visual language can get a little more sophisticated, perhaps introducing a Photoshop-y treatment to the programming imagery so it feels less generic. The logo is so bold and has so much presence, though, that it almost gets the job done on its own.

There is a slightly groovy element that starts to appear below (and can be seen here on their website) of a psychedelic-ish pattern in the RGB colors that's kind of interesting. It may be a little too weird for driving the advertising but there is something cool going on there.

Website.
Swag and products.
Sweatshirts.
Socks.

Overall, this is a solid renaming/redesign that establishes a new brand that looks and sounds like it's been there for decades. It feels like a confident, dependable brand where you can enjoy all the soccer you want.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

(Est. 2019) "Pollination is a specialist climate change advisory and investment firm, accelerating the transition to a net zero, climate resilient future. Our people are the key to unlocking change. Brought together from across industries, we are global leaders in finance, investment, technology, business, law
“It’s Change O’Clock Somewhere”

(Est. 2019) "Pollination is a specialist climate change advisory and investment firm, accelerating the transition to a net zero, climate resilient future. Our people are the key to unlocking change. Brought together from across industries, we are global leaders in finance, investment, technology, business, law and policy. We combine our diverse expertise to connect dots and see around corners where others can't. With strong relationships at the highest levels of government and the private sector, we shift barriers and catalyse transformative partnerships. Our clients span governments, businesses and public and private capital. Using our broad experience, we help navigate the climate transition, and design and invest in breakthrough ideas that deliver financial returns."

Relevant quoteTo communicate Pollination’s unique way of working, we developed an identity based on working collectively towards a net zero carbon emissions future. The graphic logo tells this story in a number of ways, alluding to time and the importance of continuous collaboration.

A black and white colour palette highlights that climate change is not a grey area, while an intelligent yet dynamic brand voice serves up intellectual rigour and creative thinking in equal measures.

A photography library champions the role Pollination plays at the centre of the climate change story, by taking an editorial, world-view approach to climate change topics. The duality of photography style – close-up details vs. ‘bigger picture’ images – captures Pollination’s ability to interrogate the problem in order to make informed decisions, as well as using its imagination to solve tomorrow’s problems with more than today’s solutions.

Images (opinion after)

Logo.
Logo animation.
Your browser does not support the video tag.
Photography pairings.
Business cards.
Website.
Website on mobile.
Instagram posts.
Your browser does not support the video tag.
Brand video.

Opinion
The old logo was fine, a little on the literal side but it got the point across. The new logo is a more abstract interpretation and it’s sublime, linking the two “O”s at the start and end of the long word with a circle of more identical “O”s conveying the notion of one idea flowing into another and creating, in this case, a positive cycle. It’s, in hindsight, such a simple idea and it’s executed perfectly. The ability to use the circle of “O”s on its own is also great and how it animates like a dial in tune with imagery changing is a powerful message. The applications introduce a lovely serif, Displaay’s Reckless, that, along with the strong photography, provides an editorial look for some added gravitas. Overall, this is great from start to finish, which I realize is not the most substantial argument but that’s what it boils down to for me.

Established in 2010, originally as Google Ideas, Jigsaw is a company within Google -- it previously existed independent of Google as an Alphabet company -- that "forecasts and confronts emerging threats, creating future-defining research and technology to keep our world safer". To do this, researchers
“War and Piece”

Established in 2010, originally as Google Ideas, Jigsaw is a company within Google -- it previously existed independent of Google as an Alphabet company -- that "forecasts and confronts emerging threats, creating future-defining research and technology to keep our world safer". To do this, researchers and technologists at Jigsaw create standalone digital products, browser extensions, and open-source programs that help everyone from citizens to journalists to activists fight broad, global issues like disinformation, censorship, harassment, and violent extremism. For example, a product recently getting a lot of press is Assembler, a tool that aims to make it easier to judge manipulated media (like deepfakes) and help prevent the spread of disinformation -- along with that release last month, Jigsaw introduced a new identity designed by San Francisco, CA-based Upperquad.

A play on Jigsaw's name and the interconnectedness of their work, the logo stems from the connection point between two puzzle pieces. Close cropping emphasizes Jigsaw's relentless search for solutions, while giving the mark a smart, modern feel. The custom wordmark introduces technical precision and stability.Upperquad project page
Monogram concept.
Logo.

The old logo, designed by Spin, was pretty funky, taking the same concept of jigsaw puzzle pieces as the new logo but applying it in a more maximalist way, with a highly detailed "J" that established a highly textured visual language that had a kind of viral presence. All together it was good but perhaps visually overstimulating. The new logo establishes a more minimalist approach with an abstract "J" monogram built from the crop of two puzzle pieces coming together. I'm not sure I would have deciphered that without the explanation image above the logo and I'm in doubt of my own powers of deduction because when I loaded this project the first thing I saw was the explanation image so I will never know if I could have deduced what the monogram is on my own. Aside from this moment of self-reflection, the monogram is really good. I like the harshness of the cut that yields the "J" and how the circle in the negative space contrasts with everything else. The wordmark looks solid too and starts to establish a more serious and slightly gloomy tone with its non-friendly uppercase presence -- I think it's the cut in the "J" that gives off those vibes.

Jigsaw addresses emerging digital threats with an interdisciplinary approach that includes research, partnerships, projects and products. To celebrate each project and product as its own, we developed a flexible system for creating logos that allows the work to take on independent identities without losing connection to the broader Jigsaw brand.Upperquad project page
Product logos.

Giving each product/project a logo seems like a good idea now but it's the kind of thing that eventually leads to problems with each product/project wanting a cool logo of their own. I bet that five, seven years from now we will be reading a case study about how product/project logos have all been unified under one master brand. Other than their small size and pairing with the font, there is no overwhelming cohesiveness to them. Nonetheless, for now, they are all alright and look great on a chart.

Because Jigsaw's work often involves delicate, even dangerous, situations, we used typography to reduce our reliance on imagery. We worked with Graham Bradley to create a custom typeface, Jigsaw Sans, in 4 weights to reflect both their work and their identity. Large, open proportions capture the humanity of the organization, while subtle, angular elements reference their roots in technology.Upperquad project page
Jigsaw sans.

The custom type family is pretty good. Reminds me of a number of other typefaces with the flat terminals but this is as good and slick as it gets, so no complaints really.

Guidelines.
Business cards.
Your browser does not support the video tag.
Website on desktop and mobile.
Fragmentation, distortion, dimension, connection and illumination became consistent themes woven throughout our digital and print applications. We pushed the bounds of our geometry, color and type systems to create an extensive body of artwork that feels at once diverse and cohesive.Upperquad project page
Abstract geometric compositions.
Posters.
T-shirts.

There isn't a whole lot in terms of typical applications... the most concrete, tangible example is the actual Jigsaw website, which is stunningly good from start to finish with a lot of great details and subtle transitions. The applications directly above are a little esoteric and ambiguous. They are kind of interesting to look at but I'm not convinced they say or do much to convey what Jigsaw does, other than perhaps "It's complicated". Any of the T-shirts could be a New Order album cover so that's cool.

In collaboration with Jigsaw and Imprint Projects, we also launched The Current. The Current is a digital publication that explores a single issue in depth each release, with the goal of demystifying complex topics. To exude optimism, we set The Current landing page in white and elevated our serif font, GT Sectra, to create a more editorial feel.Upperquad project pageThe Current website and cover images.

The The Current website is also great and the promotion of GT Sectra to play a bigger role pays off, creating a very confident, contemporary editorial presence for the publication. Overall, this is a very slick, serious-looking identity that reflects the gravity and complexity of the issues Jigsaw tackles.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

Making the rounds are images of corporate logos (grouped on the right) where their elements have been awkwardly separated to show "social distancing". Unfortunately none of them are that clever or as poignant as the unofficial Olympics logo graphic that did it first, since the
Visit Link
Making the rounds are images of corporate logos (grouped on the right) where their elements have been awkwardly separated to show "social distancing". Unfortunately none of them are that clever or as poignant as the unofficial Olympics logo graphic that did it first, since the rings icon is about people from five continents coming together not selling hamburgers, soda, or cars, making the notion of social distance actually relevant.
http://feedproxy.google.com/~r/ucllc/brandnew/~3/-L5y_jEC5QE/social_distance_logos.php
https://www.underconsideration.com/brandnew/archives/social_distance_logos.php
Mon, 30 Mar 2020 06:41:07 -0600
https://www.underconsideration.com/brandnew/archives/social_distance_logos.php

(Est. 2013) "We're Cruise, a self-driving car service designed for the cities we love. We are building the world's most advanced self-driving vehicles to safely connect people to the places, things, and experiences they care about. We believe self-driving cars will help save lives, reimagine
“Cruise Control”

(Est. 2013) "We're Cruise, a self-driving car service designed for the cities we love. We are building the world's most advanced self-driving vehicles to safely connect people to the places, things, and experiences they care about. We believe self-driving cars will help save lives, reimagine cities, redefine time in transit, and restore freedom of movement for many. Backed by some of the world's most respected companies like General Motors, SoftBank, Honda, and T. Rowe Price, we operate as a fast-moving startup with deep financial resources. Their backing for our technology demonstrates their confidence in our progress, team, and vision and makes us one of the leading autonomous vehicle organizations in the industry. Our partnership with General Motors enables us to manufacture a fully-integrated self-driving car that is 100% electric, and we believe this approach is crucial to truly solving transportation challenges at global scale."

Design byMoving Brands in collaboration with Cruise in-house design team

Related links
N/A

Relevant quoteUnlike many of our competitors, our new identity system doesn’t feature a logo per se. Rather, the system is anchored by a 3-dimensional symbol which reflects our hopes of shaping the future of transportation — and the cities in which we operate — for the better in the 21st century. We think of it as a living identity, one that is responsive, dynamic, and can adapt to change. For example, the interplay of light and shadows on the symbol enables us to reflect the different times of day, and moods, in a built urban environment. What’s more, we can crop into our symbol to create rich imagery for a variety of brand touchpoints, especially motion assets.

Our colors are born from the city in which we’re founded: San Francisco. Our core color, presidio, is inspired by our city’s iconic architecture. The other core colors in our identity are asphalt (of course) and the colors that represent what we hope to create in future cities: clean air, water, and light.

Currently, we’re busy expressing our new identity system across a variety of channels and mediums: from livery design and communications, to our app, in-car experience, physical spaces — and most notably to the world’s first production-ready, self-driving, all-electric vehicle: the new Cruise Origin.

Images (opinion after)

Wordmark.
Symbol.
Sample crop of symbol for applications.
Your browser does not support the video tag.
Symbol animation.
Your browser does not support the video tag.
Symbol construction.
Your browser does not support the video tag.
Symbol changing colors.
Color palette.
Cruise car.
Your browser does not support the video tag.
Cruise Origin.

Opinion
While the wordmark isn’t meant to be the brand’s main identifier — the symbol is — it’s still the first thing you see on the website and while not exciting in the least, it’s so much better than the old logo with its clunky rounded sans serif and disproportionately large “u”. The biggest positive of the new wordmark is that it’s not distracting and it’s a serviceable complement to the cars and the symbol. Sculpted in slick 3D, the new “C” is super nice eye candy. The embossed, tone-on-tone execution is very well executed and I really love how the open ends of the “C” blend into the background as the height of the letter decreases. The tight crop yields cool textures and the animation is very satisfying. Not much in terms of application, the closest being the smaller car livery with the crop of the “C” and the white wordmark on top. It’s promising. Overall this feels very SFO-Silicon-Valley-ish with its slick finish, happy bright color, and crisp sans serif… which looks nice for sure but it’s all still in the same general vein as many of the tech industry brands.

Established in 2019, Oio Lab is a brand of skincare products produced and available in Poland. Based on natural ingredients, consisting of organic, cold-pressed oils, and plant extracts obtained using innovative methods -- like enzymatic extraction or supercritical carbon dioxide extraction, stuff like that --
“To the Victor Belong the Oils”

Established in 2019, Oio Lab is a brand of skincare products produced and available in Poland. Based on natural ingredients, consisting of organic, cold-pressed oils, and plant extracts obtained using innovative methods -- like enzymatic extraction or supercritical carbon dioxide extraction, stuff like that -- Oio Lab offers, at the moment, four facial treatment oils. Founded by former lawyer, Joanna Ryglewicz, who developed an interest in cosmetics after importing products from Paris to Poland to help sustain her law studies at the time, Oio Lab has been gathering quick interest from the press, including Vogue Poland, and is looking to expand its market to the UK and U.S.. Their identity and packaging have been designed by Oslo, Norway-based Hugmun.

The brief was to ensure their traditional knowledge and wisdom of rituals, combined with advanced ingredients, was reflected in an innovative and artistic approach to appeal to their conscious consumers. We were responsible for graphic design development, including packaging identity creation. We art directed 3 photoshoots, finessed the logo lines and shapes, developed and designed all packaging, re-skinned the website and produced all online and print materials, including merchandise such as; postcards, bags, stickers, newsletters, presentations. We continue to act as brand-guardians for ongoing work.Hugmun project page
Before and after, comparison.
Logo.
Logo, inverse.

The original logo was NOT designed by Hugmun but they cleaned it up and it goes to show how important execution is -- not that it needs much proving around these parts but it's still nice to see a clear-as-day example. The original version was wonky and had no flow, with odd bumps everywhere. The new logo is smoother and the lines have a much more graceful flow. To be honest, I'm not sure I would read "Oio" without knowing the product is called "Oio", as that "i" is pretty abstract, but once you know, I think it's a lovely logo that feels organic and hand-made. I really like the exaggerated large size of the "O", long curl of the "i", and far placement of the "o". There is something pleasant about it and, more importantly, it has the personality and distinctiveness that the clinical sans serif trend simply can't achieve.

Packaging, before (left) and after.
Abstract, modern art and use of vivid colors was a request from the client. A fusion between magical rituals and symbolic plants was our inspiration, to insure we showcase the superior ingredients but in a minimalistic, playful and artistic way - which is especially demonstrated in the packaging design and creative photography. Vibrant orange is the core brand color, to reflect warmth and strength. Colourful blobs embody the oil substance of their products and act as brand devices, flowing within the logo and springing to life in animation. Oio is 100% honest about their products ingredients, so whilst the oils are stored in violet glass to preserve vitality, we also created animations with transparent 3D bottles to further exemplify this.Hugmun project page
Packaging, boxes.
Box detail.
Boxes and bottles.
Bottles.
Bottles with model.

As with the logo, the design of the little bottles show how big a difference design subtlety can make. The old bottles were fine with the logo centered along with some small type and tiny blobs but the new bottles with the logo on its side, in different colors, and nothing else is real fine. The size and placement of the logo makes the bottles feel more unique and high-end. The little blobs that appeared on the old bottles have been expanded into a system of colorful interlocking blobs that shift configurations and colors in the outer boxes, which now have all the information that was previously crammed into the front of the bottles -- I assume the budget has increased to now produce the boxes and print on both "sides" of the bottle, allowing for the luxury of keeping the front of the bottle clear of additional info. The blobs are paired with a classic cosmetics move of a high-contrast sans serif that, as a secondary element, looks pretty good.

Hero shot, family of products.
Hero shots individual.

Overall, and accentuated by its slightly surrealist presentation, the product has a groovy, high-end appeal that sets it apart from both the big mainstream cosmetic brands as well as the more earthy organic brands, landing somewhere in the middle with a dash of magic and science.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

(Est. 2004) "DVDW (Duijnstee Van Der Wilk) is a medium-sized commercial law firm with offices in The Hague and Rotterdam. We focus in particular on the larger business clients and we are keen on their interests every day. We are an office of committed and
“That W FTW”

(Est. 2004) "DVDW (Duijnstee Van Der Wilk) is a medium-sized commercial law firm with offices in The Hague and Rotterdam. We focus in particular on the larger business clients and we are keen on their interests every day. We are an office of committed and decisive lawyers: from entrepreneurs, for entrepreneurs. Quality, reliability and courage are at the core of our work and our identity. DVDW has quickly grown into a top 50 law firm in the Netherlands with offices in The Hague and Rotterdam."

Relevant quoteThe house style and website are completely new in form, content, and user experience. The new logotype incorporates the dynamics of a modern law firm combined with the strength of a solid partner. These features are also reflected in the outstanding personalities of DVDW's lawyers, who are now prominently visible on the website – with large portraits of individual team members.

Images (opinion after)

Logo.
Your browser does not support the video tag.
Logo shapes animation.
Logo and tagline.
Business cards.
Various flat things.
Binder.
Website.

Opinion
(Quick disclaimer: the redesign is from July 2019; I missed it at the time but it’s good so let’s get it.) The old logo, I’m not sure what was going on there… perhaps there is a law (or Dutch-specific) reference in there somewhere in regard to whatever was happening with the “D”s? I would love to learn something new today, so if you have an answer let me have it. Aside from that, it was a weird but not bad logo, looking scholarly. The new logo is very unexpected for a law firm in general but maybe less so for a law firm in the Netherlands where they are simply cooler than the rest of us. I love the contrasts within the logo, both in the thicks and thins as well as in the rounded-ness of the “D”s and angularity of the “V” and “W”. The latter being so counter-intuitive to how they should be drawn that they are undeniably unique — whether you like them or not, that’s a different story, but they sure are distinctive. In application I love how the logo is used super big in the layouts and how the reverse “W” that ends on a flat vertical line so neatly frames the logo. There is really not that much to the applications other than big logo and demure sans serif typography but given that this could have easily ALL been demure sans serif typography, the fetching logo adds a lot to it. The odd color palette of bright blue and reddish brown is pretty great too — a little jarring but, like the logo, it’s unique and interesting. Overall, a great funkification — which, yeah, I know it’s not a thing or a word but in these screwed up times I am writing whatever nonsense I please — of traditional law firm identities that tend to be appropriate but forgettable.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

About Spotted posts
No further images are included. No opinion is given. Not even a punny title. These are just… spotted. Best available link to learn more about the change (or the company) provided in the link above. Poll and comments are open.

From the Department of Unexpected Brand Synergies: IKEA and Pizza Hut in Hong Kong have joined forces where IKEA has created a life-size table based on those pizza box holder thingies and Pizza Hut is making pizza with IKEA's Swedish meatballs.
Visit Link
From the Department of Unexpected Brand Synergies: IKEA and Pizza Hut in Hong Kong have joined forces where IKEA has created a life-size table based on those pizza box holder thingies and Pizza Hut is making pizza with IKEA's Swedish meatballs.
http://feedproxy.google.com/~r/ucllc/brandnew/~3/FyuYYHEthnE/ikea_pizza_hut_come_to_the_table.php
https://www.underconsideration.com/brandnew/archives/ikea_pizza_hut_come_to_the_table.php
Thu, 26 Mar 2020 07:55:54 -0600
https://www.underconsideration.com/brandnew/archives/ikea_pizza_hut_come_to_the_table.php